Enciclopedia della musica
Author: Jean Jacques Nattiez, Margaret Bent, Rossana Dalmonte, Mario Baroni
Publisher: Giulio Einaudi
La mas completa enciclopedia ilustrada de la musica que le acercara de manera didactica al universo de la melodia y la armonia Esta enciclopedia de la musica le ensenara a distinguir entre un preludio y un nocturno, a saber en que epoca nacio la opera o el ballet, a la vez que le proporcionara toda la informacion sobre los mas ilustres compositores, directores de orquesta y cantantes. Aprenda a reconocer si una pieza musical corresponde al barroco o al romanticismo segun sus caracteristicas acusticas. Conviertase de manera sencilla y practica en un experto melomano y sorprenda a todos sus amigos con sus conocimientos musicales. A que edad compuso Mozart su primera pieza musical ? Que forma musical tiene una suite? Que aspecto tiene una marimba? Que instrumentos forman la familia denominada de cuerda? Durante que periodo fue Von Karajan director de la celebre orquesta de Berlin? Como distinguir un estudio de una variacion?
It is unusual for styles in opera to carry over from one era into another. It would be even more unusual for one era's characteristics to linger two generations into the next. Yet this is precisely what happened during the first half of the nineteenth century, when the intricacies of the fleet bel canto style were combined with the Romantic era's heroic declamation and formidable orchestral emphasis resulting in the creation of the assoluta voice. This work traces the emergence of the impressive vocal writing that resulted from the marriage of the bel canto and Romantic eras. It also covers the uniquely versatile divas who were given the opportunities to make their mark on opera from the time of Cherubini to that of a young Verdi. Here, both the wide-ranging vocalism in the scores themselves and the artists capable of performing this style are referred to as assoluta. Chapters consider Luigi Cherubini's Medee, Gioacchino Rossini's Armida, Carl Maria von Weber's Oberon, Gaetano Donizetti's Anna Bolena, Vincenzo Bellini's Norma, Donizetti's Gemma di Vergy and Roberto Devereux, the time of transition in the late 1800s and early 1900s, and Giuseppe Verdi's Nabucco and Macbeth.
Author: Frank A. D'Accone
Publisher: Pendragon Press
Musica Franca: Essays in Honor of Frank A. D'Accone pays tribute to one of the leading scholars of Renaissance music on the occasion of his sixty-?fifth birthday. With an introduction by Lewis Lockwood, the collection of essays is wide-?ranging, a musica franca befitting the interests of the international circles of col?leagues who contributed to this volume. Nino Pirotta opens the section on "Florentine Renaissance," followed by Bonnie J. Blackburn, Anthony M. Cummings, and Francesco Luisi. Music of the Italian Renaissance is the focus of "Archival Studies" and of "Madrigal and Carnival Song," with contributions by Tim Carter, Colleen Reardon, Arnaldo Morelli, James Haar, William F. Prizer, and Dinko Fabris. The essays on "Italian Opera" range from seventeenth ?century Venice (Irene Alm) to eighteenth? century Florence (William C. Holmes), to a comparison of Rossini and Bellini (Paolo Fabbri). Issues of "Performance Practice" in both vocal and instrumental repertoires are examined by Alyson Mdamore, Keith Polk John Walter Hill, and Don Harrán. In "Manuscript Studies," Fabio Carboni Agostino Zino, Jean? Michel Vaccaro, and Richard Charteris analyze primary sources from the fourteenth through the seventeenth centuries. Finally, Daniel Heartz, H. Colin Slim, and Owen Jander explore the relationship between "Music and Image" in sixteenth-century France, seventeenth? century Italy, and Beethoven's Vienna. This impressive collection of essays is a fitting celebration for a noted scholar.
This book constitutes both a study and a historical musicological analysis of Sir William Walton's Violin Concerto, treating the form of the violin concerto in general in England, as it developed between 1900 and 1940, taking into consideration the works of Charles Villiers Stanford, Edward Elgar, Samuel Coleridge-Taylor, Frederick Delius, Ralph Vaughan Williams, Arthur Somervell, Arnold Bax and Benjamin Britten. The study is divided into three parts: - The Violin Concerto in England between 1900-1920: Stanford, Elgar, Coleridge-Taylor, Delius. - The Violin Concerto in England between 1920 and 1940: Vaughan Williams, Somervell, Bax, Britten. - William Walton's Violin Concerto The book opens with a brief description of the form of the Violin Concerto between the 19th and 20th centuries in Europe. This description is intended to provide both a familiarity with the fundamental characteristics of this musical form during the period under examination, and the beginning of a comparison between different national compositional styles. Each section is introduced with a portrait of the historical musical character in England during the respective period, and presents, after a biographical introduction to the respective composers, a formal structural, harmonic and aesthetic analysis (this analysis being embedded within a general discussion of the concertos themselves). In addition, a study of the technical and interpretative aspects of the concerto and a reflection on the relationship between composer and performer form part of the analysis. At the close of each section a comparative overview is also given. The first and second parts are developed entirely in relation to the third, which treats, exclusively and in considerable depth, Sir William Walton's Violin Concerto, the work to which the greatest attention is devoted. The appendix provides various unpublished texts concerning some of the concertos treated (with particular reference to Walton's) that were gathered during research. It is hoped that these will prove useful in enriching and completing a reflection, begun in the book, on the decidedly performative and interpretative aspect of violin music produced by British composers in the first half of the 20th century. Currently there are no modern texts that approach the violin concertos of this period in an exhaustive way. This text proposes to fill the gap, drawing the attention of scholars, musicologists and musicians to the appeal of this repertoire, composed of works of great artistic value that have been, for too long, unjustly forgotten. The volume will be useful to university and conservatory students, musicologists, composers, violinists and musicians in general, in as much as it treats, in specialized yet accessible language, the aspects of the concerto that are of interest to the author. The study is enriched by the inclusion of unpublished documents (letters and essays written by both the composers themselves and by those to whom the concertos were dedicated), that will help to illuminate the myriad cultural and personal circumstances that fed and gave life to these great works.